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  • Double Suicide

    Double Suicide

    ★★★★½

    "I must categorize the films of the world into three distinct types. European films are based upon human psychology, American films upon action and the struggles of human beings, and Japanese films upon circumstance. Japanese films are interested in what surrounds the human being. This is their basic subject." — Masahiro Shinoda

  • Ricochet

    Ricochet

    ★★★★

    Apparently started life as a Dirty Harry script but Clint thought it was too grim. I suppose the obvious reference point here is Cape Fear (either the original, which I'm yet to see, or the Scorsese remake released the same year as this), but the absurd lengths to which Lithgow's character goes to tormenting Denzel make it feel more like a super violent and nasty live-action Sideshow Bob episode. On that note, this is possibly Lithgow's best villain—no mean feat, considering his De Palma collaborations. Denzel goes joker mode.

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  • My Heart Is That Eternal Rose

    My Heart Is That Eternal Rose

    ★★★★

    This exists somewhere in the sweet spot between John Woo and Wong Kar-wai. Which is exactly what I was looking for.

  • Glass

    Glass

    ★★★★½

    An investigation of the ways in which the state enacts social control (primarily, hegemonic domination and mass surveillance); and a demonstration of how these must be reversed in order to utilise their revolutionary potential. Yes, it's about the revolutionary potential of belief (the logical political culmination of M Night's humanist, spiritual and metaphysical project up to this point), but it's also about the methods by which this revolution might be made to happen.

    The middle act shows these methods of…